This weekend I had the pleasure of
seeing Cat on a Hot Tin Roof. While
sitting in the audience, marveling at the dynamic relationships between
characters, I couldn’t help but notice some themes bubbling up from my repertoire
of Shakespeare. One play I noticed a likeness to was King Lear.
The most glaring similarity I
observed was between Big Daddy and King Lear. Both characters are suffering
from old age and illness; both also have to address the issues of inheritance.
Big daddy has 28,000 acres he must decide what to do with and King Lear has an
entire kingdom to portion. These two heads of the household also favor the
younger child. Although Brick is an alcoholic who refuses to sleep with his unfaithful
wife and bear children, Big Daddy still prefers him over his older son Gooper,
who has a loving wife and five children with another on the way. Similarly,
King Lear preferred his youngest daughter Cordelia to his two older daughters.
The other main similarity I
observed was between Cat on a Hot Tin
Roof and Cymbeline. The parallel
I noticed in this instance was between Innogen and Posthumus and Brick and
Maggie. One person in the relationships is from a rich family while the other
is woefully poor (Innogen and Brick are rich while Posthumus and Maggie come
from poor families). The other similar experience between these two sets of
couples is infidelity. Maggie slept with Brick’s best friend Skipper, ruining
their relationship and causing Brick to resort to drinking to deal with the “mendacity”.
In Cymbeline, although Innogen does
not actually sleep with Giachimo, Posthumus believes she has. This breaks his
heart and nearly drives him mad, causing him to orchestrate her murder.
Overall, I found Cat on a Hot Tin Roof to be quite
enjoyable. The character development and exposition of relationships was
remarkable. I also found the resemblance between Tennessee William’s and
William Shakespeare’s writing style and use of themes interesting.
Elizabeth, a great set of parallels between American and early modern English tragedy (or tragi-comedy, in the case of Cymbeline). Ultimately, the family seems to be the site of the greatest amount of emotional roil and ferment in the emotional lives of stage characters; it's a small network, but a very freighted one. I am left to wonder whether there could be a Kozintsev-like *Cat,* in which the problem of dynastic inheritance could be taken into account as a national or regional or community issue. Nicely observed!
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